Two-player insults battle of African American origin
The Dozens is a game played between two contestants in which the participants insult each other until one of them gives up. Common in African-Americancommunities, the Dozens is almost exclusively played in front of an audience, who encourage the participants to reply with increasingly severe insults in order to heighten the tension and consequently make the contest more interesting to watch.
Comments in the game may focus on the opposite player's intelligence, appearance, competency, social status, and financial situation. Disparaging remarks about the other player's family members are common, especially regarding their mother.[1] Commentary is often related to sexual issues, and this version of the game is referred to as the "Dirty Dozens".[2]
According to sociologist Harry Lefever and journalist John Leland, the game is played almost entirely by African-Americans; other ethnic groups often fail to understand how to play the game and can take remarks in the Dozens seriously.[note 1] Its popularity is higher among low-income and urban communities, but it is also found in middle-class and rural settings. Both men and women participate, but the game is more commonly played among men.[3]
Terminology
Playing the Dozens is also known as "blazing", "roasting", "hiking", "capping", "clowning", "ranking", "ragging", "rekking", "crumming", "sounding", "checking", "joning", "woofing", "wolfing", “skinning”, "sigging", "scoring", "signifying"[3][4] or "jiving", while the insults themselves are known as "snaps".[5][6]
Origins
The first academic treatment of the Dozens was made in 1939 by Yale-based psychologist and social theorist John Dollard, who described the importance of the game among African-American men, and how it is generally played. Dollard's description is considered pioneering and accurate.[7] Dollard originally wrote that he was unaware of how the term "Dozens" developed, although he suggested a popular twelve-part rhyme may have been the reason for its name. He only speculated on how the game itself grew to such prominence.
Other authors following Dollard have added their theories. Author John Leland describes an etymology, writing that the term is a modern survival of an English verb—"to dozen"—dating back at least to the fourteenth century and meaning "to stun, stupefy, daze" or "to make insensible, torpid, powerless".[8]
Amuzie Chimezie, writing in the Journal of Black Studies in 1976, connects the Dozens to a Nigerian game called Ikocha Nkocha, literally translated as "making disparaging remarks". This form of the game is played by children and adolescents, and takes place in the evening, in the presence of parents and siblings. Commentary among the Igbo is more restrained: remarks about family members are rare, and are based more in fanciful imaginings than participants' actual traits. In contrast, during the game in Ghana, which is also commonly played in the evenings, insults are frequently directed at family members.[2]
Amiri Baraka independently concluded that the Dozens originated in Africa and states that they are a surviving adaptation of "African songs of recrimination."[9]
Author and professor Mona Lisa Saloy posits a different theory, stating in "African American Oral Traditions in Louisiana" (1998):
The dozens has its origins in the slave trade of New Orleans where deformed slaves—generally slaves punished with mutilation for disobedience—were grouped in lots of a 'cheap dozen' for sale to slave owners. For a Black to be sold as part of the 'dozens' was the lowest blow possible.[10]
Purpose and practice
The Dozens is a "pattern of interactive insult" evident among all classes of African Americans, among men and women, children and adults.[11] Usually two participants engage in banter, but always in front of others, who incite the participants to continue the game by making the insults worse. Frequently used topics among players who "play the Dozens" or are "put in the Dozens" are one's opponent's lack of intelligence, ugliness, alleged homosexuality, alleged incest, cowardice, poor hygiene, and exaggerations of physical defects, such as crossed eyes.[11]
Participants in the Dozens are required to exhibit mental acuity and proficiency with words. In his memoir Die Nigger Die! (1969), H. Rap Brown writes that the children he grew up with employed the Dozens to kill time and stave off boredom, in the way that whites might play Scrabble. Brown asserts playing the game is a form of mental exercise. Sociologist Harry Lefever states that verbal skill and wit is just as valued among African Americans as physical strength: "Verbal facility is thus a criterion that is used to separate the men from the boys".[3] According to author John Leland, the object of the game is to stupefy and daze one's opponents with swift and skillful speech. The meaning of the words, however, is lost in the game. The object of the game is the performance.[8]
Adolescents incorporate more sexual themes in their versions, often called the "Dirty Dozens". The language also becomes more playful, with participants including rhymes:
I was walking through the jungle With my dick in my hand I was the baddest motherfucker In the jungle land I looked up in the tree And what did I see Your little black mama Trying to piss on me I picked up a rock And hit her in the cock And knocked that bitch About a half a block.[2]
Many forms of the Dozens address sexual situations or body parts:
If you wanta play the Dozens Play them fast. I'll tell you how many bull-dogs Your mammy had. She didn't have one; She didn't have two; She had nine damned dozens And then she had you.[12]
Analysis
A variety of explanations have been offered for the popularity of the Dozens. Its development is intertwined with the oppression African Americans encountered, first as slaves and later as second-class citizens.
John Dollard viewed the Dozens as a manifestation of frustration aggression theory, a theory that he helped develop. He hypothesized that African Americans, as victims of racism, have been unable to respond in kind towards their oppressors, and instead shifted their anger to friends and neighbors, as displayed in the strings of insults.[13] Folklorist Alan Dundes asserted that an approach based on psychoanalytic theory and American oppression ignores the possibility that the Dozens may be native to Africa. In addition to similar forms of verbal combat found in Nigeria and Ghana, where many African Americans have ancestral roots, Bantu and Kisii boys have been observed dueling verbally by attacking each other's mothers.[14]
The game is also viewed as a tool for preparing young African Americans to cope with verbal abuse without becoming enraged. The ability to remain composed during the Dozens is considered a hallmark of virtue among many African Americans.
In the deepest sense, the essence of the dozens lies not in the insults but in the response of the victim. Taking umbrage is considered an infantile response. Maturity and sophistication bring the capability to suffer the vile talk with aplomb at least, and, hopefully, with grace and wit.[3]
Nonetheless, many such contests do end in fights. Abrahams states that when African Americans reach a certain age, between 16 and 26, the game loses much of its appeal and attempts to enter into sparring contests often result in violence.[4] John Leland writes that the loser of the Dozens is the one who takes his opponent's words at face value, therefore ending his own performance in the back-and-forth exchange.[8]
Bertsolaritza – Basque Country (oral poetic improvisation in Basque, one of the most famous popular manifestations of the Basque Country)
Footnotes
Notes
↑ Although folklorists have observed some white adolescent boys engaging in a form of the Dozens, a black psychologist wrote in 1970 that white psychologists' deconstruction of the apparent hostility in the Dozens is misunderstood because the white psychologists take the insults literally (Lefever). John Leland uses the example of boxer Muhammad Ali, who often used the Dozens format in banter with reporters, either confusing or angering them when he did. (Leland, p. 182)
1 2 3 Chimezie, Amuzie (June 1976). "The Dozens: An African-Heritage Theory", Journal of Black Studies, Vol. 6, No. 4, pp. 401–420.
1 2 3 4 Lefever, Harry (Spring 1981). "Playing the Dozens": A Mechanism for Social Control, Phylon, Vol. 42, No. 1, pp. 73–85.
1 2 Abrahams, Roger D. (July–September 1962). "Playing the Dozens". The Journal of American Folklore. 75 (297). Symposium on Obscenity in Folklore: 209–220. doi:10.2307/537723. JSTOR537723.
↑ Jordan, Larry (1983). "Social Construction as Tradition: A Review and Reconceptualization of the Dozens", Review of Research in Education, Vol. 10, pp. 79–101.
Dollard, John (1973) "The Dozens: Dialectic of Insult", in Dundes, Alan (ed. and preface), Mother Wit from the Laughing Barrel, University Press of Mississippi. pp.277–294. ISBN978-0-87805-478-7
Wald, Elijah (2012). The Dozens: A History of Rap's Mama, Oxford University Press. ISBN0-19-989540-6
Related Research Articles
Folklore is the body of expressive culture shared by a particular group of people, culture or subculture. This includes oral traditions such as tales, myths, legends, proverbs, poems, jokes, and other oral traditions. This also includes material culture, such as traditional building styles common to the group. Folklore also encompasses customary lore, taking actions for folk beliefs, and the forms and rituals of celebrations such as Christmas, weddings, folk dances, and initiation rites.
Jumping the broom is a phrase and custom relating to a wedding ceremony in which the couple jumps over a broom. It is most widespread among African Americans and Black Canadians, popularized during the 1970s by the novel and miniseries Roots, and originated in mid-19th-century antebellum slavery in the United States. The custom is also attested in Irish weddings.
A joke is a display of humour in which words are used within a specific and well-defined narrative structure to make people laugh and is usually not meant to be interpreted literally. It usually takes the form of a story, often with dialogue, and ends in a punch line, whereby the humorous element of the story is revealed; this can be done using a pun or other type of word play, irony or sarcasm, logical incompatibility, hyperbole, or other means. Linguist Robert Hetzron offers the definition:
A joke is a short humorous piece of oral literature in which the funniness culminates in the final sentence, called the punchline… In fact, the main condition is that the tension should reach its highest level at the very end. No continuation relieving the tension should be added. As for its being "oral," it is true that jokes may appear printed, but when further transferred, there is no obligation to reproduce the text verbatim, as in the case of poetry.
Rapping is an artistic form of vocal delivery and emotive expression that incorporates "rhyme, rhythmic speech, and [commonly] street vernacular". It is usually performed over a backing beat or musical accompaniment. The components of rap include "content", "flow", and "delivery". Rap differs from spoken-word poetry in that it is usually performed off-time to musical accompaniment. It also differs from singing, which varies in pitch and does not always include words. Because they do not rely on pitch inflection, some rap artists may play with timbre or other vocal qualities. Rap is a primary ingredient of hip hop music, and so commonly associated with that genre that it is sometimes called "rap music".
An insult is an expression, statement, or behavior that is often deliberately disrespectful, offensive, scornful, or derogatory towards an individual or a group. Insults can be intentional or unintentional, and they often aim to belittle, offend, or humiliate the target. While intentional insults can sometimes include factual information, they are typically presented in a pejorative manner, intended to provoke a negative emotional response or have a harmful reaction effect when used harmfully. Insults can also be made unintentionally or in a playful way but could in some cases also have negative impacts and effects even when they were not intended to insult.
Call and response is a form of interaction between a speaker and an audience in which the speaker's statements ("calls") are punctuated by responses from the listeners. This form is also used in music, where it falls under the general category of antiphony.
Flyting or fliting, is a contest consisting of the exchange of insults between two parties, often conducted in verse.
An African American is a citizen or resident of the United States who has origins in any of the black populations of Africa. African American-related topics include:
Signifyin' (sometimes written "signifyin(g)") is a practice in African-American culture involving a verbal strategy of indirection that exploits the gap between the denotative and figurative meanings of words. A simple example would be insulting someone to show them affection. Other names for signifyin' include: "Dropping lugs, joaning, sounding, capping, snapping, dissing, busting, bagging, janking, ranking, toasting, woofing, roasting, putting on, or cracking."
A "yo mama" joke is a form of humor involving a verbal disparaging of one's mother. Used as an insult, "your mother..." preys on widespread sentiments of parental respect. Suggestions of promiscuity and obesity are common, but the form's limit is human ingenuity. Compared to other types of insults, "your mother" insults are especially likely to incite violence. Slang variants such as "ur mum" are sometimes used, depending on speaker. Insults involving "your mother" are commonly used when playing the Dozens. In non-American areas, the association can be with juvenile culture generally.
Trash talk is a form of spoken insult usually found in sports events, although it is not exclusive to sports or similarly characterized events. It is often used to intimidate the opposition and/or make them less confident in their abilities so as to win easier, but it can also be used in a humorous spirit. Trash-talk is often characterized by use of hyperbole or figurative language, such as "Your team can't run! You run like honey on ice!" Puns and other wordplay are commonly used.
"Dear Mama" is a song by American rapper 2Pac from his third studio album, Me Against the World (1995). It was released on February 21, 1995, as the lead single from the album. The song is a tribute to his mother, Afeni Shakur. In the song, Shakur details his childhood poverty and his mother's addiction to crack cocaine, but argues that his love and deep respect for his mother supersede bad memories. The song became his first top ten on the Billboard Hot 100, peaking at number nine. It also topped the Hot Rap Singles chart for five weeks. As of March 2021, the song is certified 3× Platinum by the RIAA.
The field holler or field call is mostly a historical type of vocal work song sung by field slaves in the United States to accompany their tasked work, to communicate usefully, or to vent feelings. It differs from the collective work song in that it was sung solo, though early observers noted that a holler, or ‘cry’, might be echoed by other workers. Though commonly associated with cotton cultivation, the field holler was also sung by levee workers, and field hands in rice and sugar plantations. Field hollers are also known as corn-field hollers, water calls, and whoops. An early description is from 1853 and the first recordings are from the 1930s. The holler is closely related to the call and response of work songs and arhoolies. The Afro-American music form ultimately influenced strands of African American music, such as the blues and thereby rhythm and blues, as well as negro spirituals.
Stereotypes of African Americans are misleading beliefs about the culture of people with partial or total ancestry from any black racial groups of Africa whose ancestors resided in the United States since before 1865, largely connected to the racism and the discrimination to which African Americans are subjected. These beliefs date back to the slavery of black people during the colonial era and they have evolved within American society.
"Mama Said Knock You Out" is a song by American rapper and actor LL Cool J, released in February 1991 by Def Jam and Columbia as the fourth single from his fourth studio album of the same name (1990). The song famously begins with the line, "Don't call it a comeback/I been here for years." Before "Mama Said Knock You Out" was released, many people felt that LL Cool J's career was waning; his grandmother, who still believed in his talent, told him to "knock out" all his critics. The song takes various shots at Kool Moe Dee. It was produced by Marley Marl with help from DJ Bobcat along with LL.
The Slave Community: Plantation Life in the Antebellum South is a book written by American historian John W. Blassingame. Published in 1972, it is one of the first historical studies of slavery in the United States to be presented from the perspective of the enslaved. The Slave Community contradicted those historians who had interpreted history to suggest that African-American slaves were docile and submissive "Sambos" who enjoyed the benefits of a paternalistic master–slave relationship on southern plantations. Using psychology, Blassingame analyzes fugitive slave narratives published in the 19th century to conclude that an independent culture developed among the enslaved and that there were a variety of personality types exhibited by slaves.
The Signifying Monkey: A Theory of Afro-American Literary Criticism is a work of literary criticism and theory by the American scholar Henry Louis Gates Jr. first published in 1988. The book traces the folkloric origins of the African-American cultural practice of "signifying" and uses the concept of signifyin(g) to analyze the interplay between texts of prominent African-American writers, specifically Richard Wright, Ralph Ellison, Zora Neale Hurston and Ishmael Reed.
Microaggression is a term used for commonplace verbal, behavioral or environmental slights, whether intentional or unintentional, that communicate hostile, derogatory, or negative attitudes toward stigmatized or culturally marginalized groups. The term was coined by Harvard University psychiatrist Chester M. Pierce in 1970 to describe insults and dismissals which he regularly witnessed non-black Americans inflicting on African Americans. By the early 21st century, use of the term was applied to the casual disparagement of any socially marginalized group, including LGBT people, poor people, and disabled people. Psychologist Derald Wing Sue defines microaggressions as "brief, everyday exchanges that send denigrating messages to certain individuals because of their group membership". The persons making the comments may be otherwise well-intentioned and unaware of the potential impact of their words.
The frustration–aggression hypothesis, also known as the frustration–aggression–displacement theory, is a theory of aggression proposed by John Dollard, Neal Miller, Leonard Doob, Orval Mowrer, and Robert Sears in 1939, and further developed by Neal Miller in 1941 and Leonard Berkowitz in 1969. The theory says that aggression is the result of blocking, or frustrating, a person's efforts to attain a goal.
Adelbert H. Jenkins is an African American clinical psychologist who is known for his humanistic approach to Black psychology at the start of the field in the early 1970s. Jenkins was also one of the 28 founding members of the National Association of Black Psychologists, along with other notable psychologists such as Robert V. Guthrie and Joseph White. He is currently an associate professor of psychology at New York University.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
